(Wall Street Journal) Swedish DJ Avicii is one of the most in-demand artists in his genre, electronic dance music, but he’s also riding the wave of EDM’s re-emergence and crossing over into other areas: pop and fashion, to name two.
Avicii, who follows in the footsteps of Swedish House Mafia (whom he has called a major influence on his work) has made $7 million in the past year, according to Forbes, and he ranked 10th in the magazine’s list of the world’s highest-paid DJs.
The 23-year-old, whose real name is... Tim Bergling, recently opened for Madonna at New York’s Yankee Stadium, after she introduced him at the Ultra Music Fest in Miami last spring. Later this month, Avicii will headline at Radio City Music Hall — an unusual venue for electronic dance music, but one Avicii is excited to play. “It’s an historic venue and when my mom heard I was playing there, she freaked out,” he said.
Speakeasy recently caught up with the DJ by phone to discuss working with Madonna and the fashion label Ralph Lauren, and staying true to his sound amid the explosion of EDM.
You just opened for Madonna at Yankee Stadium. Did you feel a different kind of energy from the crowd?
Yeah, definitely, obviously. I mean, it’s not my crowd, it’s Madonna’s crowd. I had a really good time and went into it nervous because it’s not my scene, but it ended up really well, I think. It’s not that big of a leap as you might think. Madonna has always been very influenced by dance music and dance-music oriented. The music I play is not that far off.
What are the artistic temptations now that EDM is crossing over into the mainstream?
The window of the people you can work with has definitely opened up. I’ve gotten to work with so many talented musicians and singers, and there’s a lot more potential for that, which is very intriguing. I’m really curious what next year – I’m going to be spending a lot of time in the studio and try to get a lot of collaborations done, and try to make it as interesting as possible.
Who else has approached you for collaboration?
This whole past year, we’ve been approached by so many different people. It just has to be right. The way I’ve been doing it from the start, making my music, has been just making stuff I feel comfortable with and just making great music, and not really to make a collaboration fast just to make a buck, you know?
Can you maintain your independence amid such lucrative opportunities?
I mean for some people I’d say it’d probably be harder than for me. I’ve always been very, very open-minded when it comes to music in general and I take so much inspiration from so many genres and types of music. As long as I really like the music that I’m doing, and I’m staying true to myself. If it’s something I wouldn’t think is good that I would think is cheesy or not good enough, and still release it in order to make money or raise my profile, then that’s a different question. That’s not the way we’ve been working, ever.
What do you hope to gain from playing Radio City?
It’s a really prestigious place to play and we really wanted to do something different for New York. We’ve been playing so much in New York and there’s so much support, me with my music and my manager with all the promoters. It’s a good place for us, like a second home. Radio City seemed like the perfect place.
You’re also modeling and providing music for Ralph Lauren’s Denim and Supply line. Did you ever consider fashion before?
No, not at all. This is more of a sponsor-type deal. I like the collaboration, they really haven’t done much of that at all, Ralph Lauren. We’ve been approached by different sponsors and clothing lines before, but this was the first one that seemed just perfect. Clothes that I felt 100% wearing, like I was always wearing Ralph Lauren clothes. I’ve always been a big fan of plaid shirts, and they’re just the best at plaid shirts. It was just a very interesting idea from the beginning.
Some critics say EDM has become watered-down and has strayed from its underground club roots. What’s your response to that?
Just because the industry has gotten bigger it doesn’t mean the underground doesn’t still exist. I think that the underground’s bigger now than it was before. It’s just the whole genre is bigger, so the mainstream is obviously a lot bigger too. For me I’ve never been focusing that much on trying to be underground or trying to be credible. I’ve always been focused on making the music I like and feel comfortable with. It’s really hard for me to comment on. For me, I don’t feel at all like I’ve had to compromise anything.
Do you think other DJs have compromised?
Yeah, definitely. There have been compromises. But like you said before, with all these possibilities coming, it’s everyone decision themselves. There’s a lot more possibilities, and for some people they might have compromise to benefit from this huge wave.
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